Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82HIGHLIGHT: BERNSTEIN WITH ITS AMBITIOUS SCALE, BRAVURA BRUSHWORK and historical subject, Armistice Day Parade: The Altar of Liberty represents the height of artist Theresa Bernstein’s work in New York City during the 1910s. Bernstein was a Polish-born American painter, printmaker and writer who moved with her parents from Kraków to Philadelphia and later studied at the Philadelphia School of Design for Women (now the Moore College of Art & Design). After traveling to Europe, where she was introduced to Expressionism, she settled in Manhattan and enrolled at the Art Students League. She maintained a studio near Bryant Park, painting scenes of the city and its residents, and exhibited alongside members of the Ashcan School such as George Bellows, Robert Henri and John Sloan. This painting depicts one of the parades held in New York to celebrate the end of World War I and is the most fully realized of the series of paintings that Bernstein made recording the city’s Armistice celebra- tions. In this lively crowd scene, the artist has captured the sense of pageantry and occasion with ranks of soldiers standing at attention in front of a large crowd that includes women and children. The structure in the background of the painting is a temporary war monument called The Altar of Liberty, designed by Thomas Hastings, an architect of the New York Public Library. Originally erected to publicize the Fourth Liberty Loan campaign to raise funds to support the war effort, it was officially dedicated on September 28, 1918, by Vice President Thomas R. Marshall, 44 days before the cessation of hostilities. As described by the New York Tribune: “In New York the dedication of the Altar of Liberty, at the gateway of the Avenue of the Allies, which starts at Madison Square, crystallized the whole spirit of idealism which is animating the nation’s fighting men on freedom’s frontier overseas and the aroused civilian population at home.” The central panel of the altar, rendered in Bernstein’s painting as broad areas of color, features a map of battlefield countries, with Belgium at the center. To the left and right of the panel are suits of armor in niches. In the background, behind the altar, the tower of Madison Square Garden is visible at the left. The white building in the background at right (with distinctive statues at the roofline) is the celebrated Appellate Courthouse of New York State, designed by James Lord and completed in 1900. LEFT: Theresa Ferber Bernstein. American, 1890–2002 Armistice Day Parade: The Altar of Liberty, 1919 Oil on canvas Signed and dated at l.r.: Bernstein ’19 Purchased with the Kathleen Compton Sherrerd, class of 1954, Acquisition Fund for American Art 54 ACQUISITIONS